1 - Go into the master effects section and do a teeny tiny little boost on the low end.
2 - Then, go to the one labeled "p" and pull it down a bit. Make a medium width q, and sweep it down near the low end to about 200-250hz. Listen to how it clears out headroom for the low frequencies!
3 - Go into the dynamix part and turn the output gain up while lowering the comp threshold.
-milkmansnd bbb
Compression on individual outputs is what gives me punch; or try the dynamix with short attack, long release, hard knee, hp set so that the kick does not over trigger the compressor, threshold and ratio to taste.
-meca bbb
1. First problem was that I was trying to do beats that sound somewhat like what you hear on the records. I was trying to get dynamics of the beat match the finished records. This was wrong from me. I've find out, that to make good beat, it has to have pretty much more dynamics than what you hear with common records. Kick and the snare needs to have a lot of volume, a lot more than others. Then when you add some basslines, melodies, harmonies (if you do any of those), the kick and snare will settle to be right amount punchy. If you don't have enough dynamics, kick and snare will drown under other sounds; you lose the punch.
2. Machinedrum gives me a starting point, different from using samples. Usually I put some reverb to whole drump attern (rounds the kick) and one one-band compressor after it; makes reverb pump a bit and enlivens the drums. What I'm trying to say, that working with Machinedrum is a whole drum production route (with it's compressors and reverbs and stuff you might add), unlike using samples (where you can do useful stuff by just making the balance right (other people have done the other work for you)). It is a longer route, but at the end the day when you have mastered it, you can make pretty much anything work.
3. Using trx-kick I used to be in this mindset, that trx-kick needs to be sound right with it's machine parameters. I tend to think it's odd to use for example lpf for it, because the originals didn't have it. So using the trx-kick with the way I think the original tr-machines were used, I should get good results. This was also wrong thinking of me. Trx-kick will sound a lot more analogue, if you use a lpf on it a bit. Just get the dynamics right and it will work (see number 1). You can experiment a lot, just get the dynamics right in the end.
4. To get good bass end to song does have a lots more than a kick (or even bass). What I mean to say, stuff that sounds shit on it's own, can and will sound terrific with right material glued on top of it. Then how to find what works and what doesn't. I just try different things (mainly from mnm), till I get the right one. Then I program it to fine tune it. If I try to program stuff to sound good from the scratch, it tends to sound too weak at the end of the day (night that is).
-toni bbb
One way to add some beef to your kick might be to add a GND sin machine and chain it to your kick.
- niall munnelly list
Another trick I use is simply using two different bd machines. For example trx-bd2 and trx-bd.
Bd2 is lp filtered so only the low boom is heard. Bd however is hp filtered so you only hear the higher frequencies....now you have indpendend control over high and low frequencies / pitch / volume which is great for "sculpting" your bassdrum into something unique.
- Merlin bbb
You should remember to also use EQ to eliminate frequencies that you do not need from the seperate kicks you use, and make sure all the elements are the right length. For example:
Kick 1 - attack phase, roll off the bass frequencies and shorten the sample/sound to just a few milliseconds.
Kick 2 - mid range - cut off frequencies up to about say 200 HZ and frequencies above 4 KHZ. Sample length should be the full length of the kick you require but this is not a rule.
Kick 3 - sub bass - roll off all frequencies above say 100 HZ. Again sample length although not a rule should be around the same as kick 2.
These elements should sit together more comfortably, and you can also use some amience effects or whatever to glue them together after compression.
- Shaun bbb
My tip to get strong kicks out of MD:
* Adjust decay until it's long as possible that you can get (and want) without clicks.
* Route kick to separate output.
* If you want to adjust tail, use gate on your mixer or ext. efx that closes and opens quickly (assuming your kicks are solid ie. not varying with amplitude from kick to kick). This used to solve the problem with MD's envelopes having only decay without hold/sustain phase.
* If you want to bring bass back, use compression (put it after gating if you use one). First set attack and release to zero, max ratio (inf) and bring threshold down so that you compress the shit out of the kick.
* Open attack until you get kick attack you want (snappy).
* Open release until you get body you want (boom)
* Set ratio for compression you want
* Set threshold so that gain reduction is able to go to zero dB.
* You might need to go back to MD's decay at some point in this process so think it as a iterative process.
Also, remember to eq, and do it before compression. I usually cut -6 dB at around 315Hz with narrowish Q to remove cardboard box sound.
- TexMex bbb
das mitm +drive seh ich dann eh.. vorerst bin ich aber denk ich auf jeden fall gut versorgt :>
